Striking Their Modern Pose
94 pages
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94 pages
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Description

The importance of fashion in the construction and representation of gender and the formation of modern society in nineteenth-century Spanish narrative is the focus of Dorota Heneghan's Striking Their Modern Pose. The study moves beyond traditional interpretations that equate female passion for finery with symptoms of social ambition and the decline of the Spanish nation, and brings to light the manners in which nineteenth-century Spanish novelists drew attention to the connection between the complexities of fashionable female protagonists and the shifting limits of conventional womanhood to address the need to reformulate customary ideals of gender as a necessary condition for Spain to advance in the process of modernization. The project also sheds light on an area largely unexplored by previous studies: men's pursuit of fashion. Through the analysis of the richness of sartorial subtleties in Benito Pérez Galdós's and Emilia Pardo Bazán's portraits of their male characters, this book brings forward these writers' exposure of the much-denied bourgeois men's love for self-adornment and the incoherencies and contradictions in the allegedly monolithic, stable concept of nineteenth-century Spanish masculinity. While highlighting the ways in which the art of dressing smartly provided nineteenth-century Spanish novelists with effective means to voice their critique of conventional gender order, the book also lends insight into these authors' methods of manipulating sartorial signs to explore and to envision (as in the case of Pardo Bazán and Jacinto Octavio Picón) alternative models of masculinity and femininity. Threading through all chapters of the study is the idea propagated by all three of these writers that Spain's full integration into modernity required not only the redefinition of the feminine role, but the reconfiguration of the masculine one as well.
Acknowledgments

Introduction

Chapter One: Fashioning Womanhood and Making Modernity in Galdós’s La desheredada

Chapter Two: What Is a Man of Fashion? Manuel Pez and the Dandy in Galdós’s La de Bringas

Chapter Three: Fashion and Feminity in Pardo Bazán’s Insolación

Chapter Four: The Sartorial Charm of the Modern Man in Pardo Bazán’s Insolación

Chapter Five: Dressing the New Woman in Picón’s Dulce y sabrosa

Conclusion

Notes

Bibliography

Index

Sujets

Informations

Publié par
Date de parution 15 novembre 2015
Nombre de lectures 0
EAN13 9781612494319
Langue English

Informations légales : prix de location à la page 0,1950€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

STRIKING THEIR MODERN POSE
Purdue Studies in Romance Literatures
Editorial Board
Íñigo Sánchez Llama, Series Editor
Brett Bowles
Elena Coda
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Floyd Merrell, Consulting Editor
Susan Y. Clawson, Production Editor
Joyce L. Detzner, Assistant Production Editor
Associate Editors
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Luso-Brazilian
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Spanish and Spanish American
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Howard Young
STRIKING THEIR MODERN POSE
Fashion, Gender, and Modernity in Galdós, Pardo Bazán, and Picón
Dorota Heneghan
Purdue University Press West Lafayette, Indiana
Copyright ©2015 by Purdue University. All rights reserved.
The paper used in this book meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Printed in the United States of America
Interior template design by Anita Noble;
template for cover by Heidi Branham.
Cover photo: Spanish fashions, Summer 1881 . Reproduced by permission from Ella Strong Denison Library, Scripps College.
Library of Congress Cataloging-in-Publication Data
Heneghan, Dorota, 1970–
Striking their modern pose : fashion, gender, and modernity in Galdós, Pardo Bazán, and Picón / Dorota Heneghan.
   pages cm. — (Purdue studies in Romance literatures ; volume 65)
Includes bibliographical references and index.
ISBN 978-1-55753-725-6 (pbk. : alk. paper) — ISBN 978-1-61249-430-2 (epdf) — ISBN 978-1-61249-431-9 (epub) 1. Modernism (Literature)—Spain. 2. Spanish fiction—20th century—History and criticism. 3. Spanish fiction—19th century—History and criticism. 4. Pérez Galdós, Benito, 1843–1920—Criticism and interpretation. 5. Pardo Bazán, Emilia, condesa de, 1852–1921—Criticism and interpretation. 6. Picón, Jacinto Octavio, 1852–1923—Criticism and interpretation. 7. Fashion in literature. 8. Gender identity in literature. 9. Civilization, Modern, in literature. I. Title.
PQ6140.M63H46 2016
863′.609112—dc23 2015027354
To my wonderful husband, Joseph and my beloved daughter, Elizabeth Suzanne “Suzie,” for their patience and support of this project.
Contents
Acknowledgments
Introduction
Chapter One
Fashioning Womanhood and Making Modernity in Galdós’s La desheredada
Chapter Two
What Is a Man of Fashion? Manuel Pez and the Dandy in Galdós’s La de Bringas
Chapter Three
Fashion and Feminity in Pardo Bazán’s Insolación
Chapter Four
The Sartorial Charm of the Modern Man in Pardo Bazán’s Insolación
Chapter Five
Dressing the New Woman in Picón’s Dulce y sabrosa
Conclusion
Notes
Bibliography
Index
Acknowledgments
I owe my deepest gratitude to my professors and mentors at Yale University, Noël Valis and Rolena Adorno, for their guidance, encouragement, and consistent support of my academic endeavors. I am particularly thankful to my advisor, Professor Noël Valis, for her generosity, kindness, and stimulation of my love for the authors to whom I dedicate my academic life. A very special thanks goes to Professor Íñigo Sánchez-Llama for his meticulous reading of and critical response to this manuscript and Professor Alan Smith for his comments and suggestions for the early version of Chapter 2 .
I would also like to acknowledge the professional support of my colleagues at Louisiana State University, in particular, the chairs of the department, John Pizer and Emily Batinski, throughout the process of writing this book. Summer grants from the Louisiana State University Council on Research and the Program for Cultural Cooperation between Spain’s Ministry of Culture and the United States’ Universities allowed me to complete my research for this project. An award to Louisiana Artists and Scholars, which was granted to me by the Board of Regents for the academic year 2011–12, made it possible to undertake final revisions and prepare this book for publication.
Part of Chapter 2 , now revised and expanded, first appeared as “What Is a Man of Fashion? Manuel Pez and the Image of the Dandy in Galdós La de Bringas ,” in Anales Galdosianos 44/45 (2009–10): 57–70. Chapter 3 is an expanded version of “Fashion and Femininity in Emilia Pardo Bazán’s Insolación ,” Hispanic Review 80.1 (Winter 2012): 63–84. I am grateful to the editors of these journals and the University of Pennsylvania Press for permission to reprint here. Great appreciation is also due to the Ella Strong Denison Library at Scripps College for permission to use the fashion plate Spanish fashions, Summer 1881 from the Fashion Plate Collection on my book cover.
Finally, I thank my parents for the boundless love and unflagging support they gave me during this project and always.
Introduction
Writing about Madrid in his 1832 collection of social sketches Panorama matritense , Ramón Mesonero Romanos stated proudly: “a uno que hubiera dejado nuestra capital en 1802 le sería imposible reconocerla en 1832” (100). Spaniard or foreigner, a visitor to Madrid in the early 1830s would marvel at the changes in the landscape of the city: its new public buildings, lively squares and boulevards, elegant cafés, theaters, and shops. With a mass of diverse artifacts and distractions and the opulent window displays, “aquellas serpientes tentadoras” (“Los escaparates” 195), wrote Antonio Flores twenty years later, Madrid was a site of irresistible fascination. Flores’s description of the window shoppers, incited to practice extravagant consumption and self-spectacle, shows that Madrid, like many other nineteenth-century Western metropolises, was home to nascent modernity and its key components: consumerism, mass culture, and urban spectacle. Two decades later, another social commentator, Ángel Fernández de los Ríos, in his depiction of new stores and the Madrilenian society’s pursuit of elegance and outward sophistication, singled out one more important feature of modern life: fashion.

[L]a sociedad madrileña es esclava de las modistas y los sastres … basta un mes para mudar de peinado y la hechura del vestido de la mujer, desde la dama que no se ocupa más que del tocador, hasta la obrera que por el género de su ocupación tiene que rozarse con el público; no se cambia con más rapidez una prenda en el uniforme del ejército; los hombres necesitan un valor heroico para salir a la calle con sombrero de ala ancha cuando todos la estilan estrecha, con la bota de punta cuadrada cuando todos la llevan redonda: la moda impone ahora una tela de enormes y estrambóticos cuadros, y Madrid parece poblado de jergones en movimiento … (766–67)
The involvement of fashion in the formation of modern Spanish society did not escape the attention of nineteenth-century Spanish writers. The sparkling appearances of female and male characters in Benito Pérez Galdós’s, Emilia Pardo Bazán’s, and Jacinto Octavio Picón’s narratives demonstrate that authors were keenly aware of the importance that dressing stylishly played in the cultural development of the Spanish bourgeois world. The skillful manipulation of sartorial features in the portrayals of their modish protagonists indicates, moreover, that the art of dressing provided them with an effective medium to voice their stance on different aspects (consumerism, urbanization, class, gender, to name only a few examples) of the evolving modern society. The purpose of this book is to demonstrate the ways in which the above-mentioned novelists used fashion to address the shifting notions of gender. Through the close examination of stylish characters’ portraits in four narratives ( La desheredada and La de Bringas by Galdós, Insolación by Pardo Bazán, and Dulce y sabrosa by Picón), the objective of this study is to reveal how these novelists implicated fashion in accentuating the need to reformulate the dominant ideals of gender as a necessary step toward Spain’s full integration into modernity. 1
It bears noting that the richness of sartorial details in the aforementioned writers’ works (and in particular in Galdós’s novels) has attracted a great deal of scholarly interest (Díaz Marcos 185–222; Anderson 49–72). 2 Yet, even in the most recent

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